Will Carpenter is a lucky man. Carpenter, who spearheads the Los Angeles-based Ships Have Sailed, found his love for music at a very young age. But his journey has not always been easy. At the age when most fifteen year olds are concerned about the zits on their pizza-munching faces, Carpenter made a life-changing decision to leave home. With a focused mind and sheer determination, Carpenter pulled himself out of a position where many would succumb to the challenge. Now, the thirty-one-year-old Vermont native is riding the current wave that is his recently released single “Midnight” while simultaneously gearing up to take the stage for the first time with his band.

Please tell me a little about yourself?

A lot of you probably already know from my bio, but here’s some more: I can be introverted at times, like many artists, but I also love people. I think a lot can be learned about the world from watching and trying to understand the people around us, and I try to increase my awareness every day! I have both a creative and an analytical mind…and I personally believe that those two aspects of my mentality really play off each other when it comes to my musical process and the style of music I’ve chosen to create for myself. On a fluffier note, I’m more of a dog person than a cat person (although my mom does love cats, and I can get along with them when I need to), and I like moderate walks on the beach–too long of a walk and I might get bored… ;-)

So how would you say the creative and analytical part of your brain play a role in your musical process and style of playing music?

I would say they sort of compete with each other. The analytical side likes patterns and neat, tidy, symmetrical forms; whereas the creative side is, well, more creative. The net result is that the two balance each other out and provide a healthy competition between symmetry (which can be boring honestly) and more inventive forms, chord voicings, riffs, etc. My composition style certainly wouldn’t be the same without both sides of my brain/personality.

I’ve read that you’re originally from a small town in Vermont, where you were raised by “an array of talented women.” How would you say your mother and your four sisters inspired you as a musician?

My mother definitely was responsible for encouraging all of us to pursue music from an early age. That said, she tended to like classical and folk music–Jazz she heard as chaotic, and the most she leaned towards Rock music was The Beatles. I have either myself or my eldest sister Jena (who introduced me to everyone from Jimi Hendrix, Red Hot Chili Peppers, Metallica and Nirvana) to thank for all of my exposure to the more modern genres of music. Being one of five siblings growing up adds a healthy amount of competition to the mix, which I personally think is really important as a motivator to practice and make sure you’re growing better at what you do every day.

What was it about The Beatles, Jimi Hendrix, Led Zeppelin and The Doors that made you want to make music to change the world?

Listing those artists, it’s hard not to notice that each one of them created significant change through their music, all in rather different ways. Some had political messages to share (some more subtle than others) and all of them brought something extremely unique from a musical perspective into the world that has helped shape the way music has developed into what we hear today. Also, I would say that all the artists in this particular list are timeless and have music that still translates to a listener today even though they didn’t have the benefits of modern, flawless, digital production. I find as an artist it is always important to find the things that inspire you and to find ways to incorporate that inspiration into what it is that you specifically do.

Tell me a little bit about playing the violin. Was this instrument hidden away in an attic? Was it a gift? How did this instrument fall into your hands?

Well, we definitely were a thrift-store type of family and didn’t really have too much in the way of finances growing up, so purchases like violins and such were definitely a stretch for my mom. However, as an early childhood educator, she placed huge importance on music and the arts as elements that help a young child’s brain develop. So finding a way to get or borrow instruments, such as the violin, and finding ways for us to learn how to play was something she prioritized. Once you have a 1/2, 3/4 and full size violin with 5 kids, the instruments get handed down, shared and recycled. So that was basically how it worked.

Interesting. Actually, it seems like you’ve picked up on several instruments at a very young age—something that is not typical in children—did your passion have much effect on your childhood?

Again, I think it was my mother’s emphasis on music that is responsible for this, definitely tailored towards a more classical musical education in my early years. She tells a couple stories of me as a two-year-old humming Vivaldi or Mozart almost flawlessly to myself as I was playing, or as a four-year-old sitting down at the piano and playing a Beethoven piece decently by ear after hearing one of my sisters practice it. So I think she recognized an aptitude for music in me early on and decided it would be a good thing to cultivate.

That’s amazing! Not only to be moved and influenced by great artists, but for your mom to recognize your talent and to guide you towards your passion. Say that weren’t the case, what do you think you’d be doing if you weren’t a musician?

Well, I’ve already had a few different careers in addition to music. I’ve done everything from working in all aspects of food service (from waiting tables to being a line cook), doing stage production, security positions, software development, and architecture. It’s hard to say what I would have found a distinct passion for if music hadn’t filled that space, but if I were to pick a career at this moment following or during my musical pursuits, I don’t know, maybe something in the education field…college professor?

Some kids get the boot from living in the luxury of their parent’s home at the age of eighteen, but you decided on leaving at fifteen. How did you make this decision? And was your family ok with this decision? Why or why not?

Well, without getting too deep into the weeds on this one, let me just say that at 14 and 15 years old my mother and I were having a somewhat contentious time in our relationship. She made an ultimatum that she certainly must have thought I would cave in to, and instead of caving I moved out of the house. She was not happy about it, but I guess she felt that she also couldn’t go back on her stance. To be honest, it has taken us a long time to get past that point in our relationship, but I’m happy to say that we have. I should also add that living on your own (often homeless) at such a young age is really difficult, lonely, and not something I would recommend…but with that said, the experience made me stronger as a person, and so I have no personal regrets. I learned a lot about taking responsibility for the trajectory of my own life, and I think all those lessons (no matter how hard they were at the time) have helped me become the person I am today.

Wow. It must’ve been a difficult transitional period in your life. How did you bounce back from being homeless?

Well, I think we all go through difficult transitions from time to time, this particular one for me just ended up happening fairly early on. I try to bounce back from all my various struggles the same way over the years: I make a list of goals and accomplishments that will project me away from the situation and elevate me out of it, which usually result in a bunch of things I need to do in order to accomplish those goals. Then it’s pretty easy to work your way through the list one item at a time and one day at a time…again, I guess my analytical side at work. This is how I try to approach almost any problem in life because it separates the reality of the issue from any emotion you might be feeling around it, and it gives you a clear direction on how to move past it.

How did you wind up playing lead guitar for 7lions? How is that coming along at the moment?

When I moved out to LA, I decided that I was going to take a break from creating and fronting my own bands and take a lead guitar role in an existing project. I answered an ad on Craigslist and wound up auditioning with a group that included Forrest Fulmer as the lead singer. After a bunch of line-up turnovers, which left only Forrest and I as original members of that group, we were still creating music and playing shows. We met Prophet through an artist in residency program at a clothing line store where Forrest worked at the time, did a quick collaborative track with him and had him jump on stage a couple shows in a row. The reaction from the crowd was just undeniable. Forrest and I decided to change the format of our project at the time and create something new with Prophet as a full member. That project eventually became 7Lions. Everything is great with 7L currently. We are working on new music and are always exploring different ways to impact and grow our fan base. I love all those guys like family and certainly my love for Ships Have Sailed will not impact my dedication to 7L. I’m a great multi-tasker! :-)

Please tell me about how Ships have Sailed came together?

Well, basically 7Lions has a very specific sound, and I tend to write all types of music. I found myself with a few songs that I couldn’t find a home for in 7L, but that I really didn’t want to let go either. They were very personal to me, so I started doing production for them. A couple of these songs felt like they needed more than I could give them at the time, and so I called up a good friend of mine, Morgan Taylor Reid, who is an incredible producer, songwriter and musician (and also a 7L member) and asked if he was interested in co-writing and co-producing a couple tracks. Those turned into “Midnight” and “Someday,” and all of a sudden I had an EP. That’s pretty much how it happened; it was like “Oh hey, here’s a new project that needs to be named and released!”

Speaking of “Midnight,” how has your audience reacted to it so far?

The reaction to “Midnight” has been nothing short of amazing. I launched this project extremely quietly, and to have a single song contribute so massively towards building a following and generating some good online feedback in such a short period of time has been surprising in the best possible way. Almost everyone seems to love that track as well as the video, and I’m extremely grateful that it has gotten so much love. As an artist, really the best possible reward is to touch people with your work, and I think “Midnight” has accomplished exactly that.

That’s Amazing! I definitely think many other artists would agree that affecting people with their work is the utmost greatest feeling. Switching gears, how does your creative process work? In other words, how do you go from having ideas in your head to putting them down on paper?

[My creative process] tends to be different each time. It’s really easy when I have an instrument around or when I’m near my home studio—there I can just play ideas out and record them rough for later development, but more often than not, I will be in my car, on a plane, or somewhere where it’s impossible to do any of that when a good idea pops into my head. I’ve gotten really savvy at singing into my phone very quietly in public if that’s what I need to do, and I also have a pretty decent short-hand for chord progressions and forms that I can just take down in a “notes” program. With smartphones, it’s really pretty easy these days to sock something away for later. I don’t know how I survived without them!

Technology could definitely be a lifesaver when it comes to making music on the go. Any last words you’d like to say to anyone reading this?

Just that I’ve gotten a lot of questions about live performances. Yes, Ships Have Sailed will be playing live starting very soon! The project took off rather unexpectedly, and I wanted to take the time to line up the right musicians to make the live experience translate on stage. We have a very solid lineup at this point, and hope to be playing shows within the next month around the LA area, then branching out and hitting the road later this year!

“I was making music that could be placed in several genres,” says Trew Music of his latest mixtape “[…] so I put together The James Crockett Experience to show that I could do more than one thing.” It’s fitting that I asked the thirty-year-old Centreville, Va native of the inspiration behind his most-recent creation, for it appears that he stays true to himself rather than remaining chained to one particular sound…Even if that means talking about his skills with the opposite sex and that his new ish is Captain Morgan mixed with Dr. Pepper paired with a Black N’ Mild.

Airy strings and the subtle boom-bap of drums open the album with the easily addictive chorus of “Her Favorite Song.” (“She’s been drinking with me all night long/ because her boyfriend does it wrong/ that’s why this is her favorite song/ When she got no panties on”) sings Trew in the introduction of the tune. “Her Favorite Song” is the perfect mix of a simple, yet effective beat; a strong, but not overbearing delivery; and a memorable hook that will almost annoyingly stick in your head long after the song is played.

He follows with “Keep it Movin” and shortly after, “Doin Me”–his strongest pieces—which share similarities as they both draw inspiration from jazz music as they utilize classy horns, head-bobbing kicks and claps, and an overall ‘laxed vibe. (“And if the drinks still poppin/ And the whole club’s woppin’/ And you know you can blame it on me/,” chants Trew on the hook of “Keep it Movin,’” “And since I see your home girls watchin’/ And there’s no other option/ And I guess that we’re fuckin’ for free, sweet,” he continues. What really puts the cherry on top of each song is his laid back, almost too-cool-for-school delivery, which feels the most natural compared to the rest of the record.

There’s no doubt that the mixtape’s strength is Trew’s carefully crafted cadence coupled with the album’s impressive production. A further result comes with the fun, up-tempo “Can I Be,” which cleverly samples The Jackson Five’s “I Wanna Be Where you Are,” where he boasts about his undying commitment to music. He takes yet another turn with the kick drum heavy “Drive Me Crazy,” a track that could easily be blended in the play list of your favorite club’s top forty mix.

A majority of The James Crockett Experience is enjoyable, and at the very least, entertaining, and maybe it could have been much stronger if it were an album rather than a mixtape. Don’t get it confused, Trew flexes his musical adaptability by strong-arming his way through the diverse production, but it is very clear that he works much better with some of his instrumentals than others. Not saying his less-effective songs show lack of skill, but it’s more like they don’t carry weight.

The biggest digression of the overall mixtape comes with “Do Whatcha Wanna Do,” where the overall vibe is reminiscent of a song by the Gym Class Heroes. Once again, this isn’t showing Trew’s lack of ability, but the change of pace is so sudden and out of place that it completely misses its mark. Other songs like “The Epitome” and “Holding or Folding” are good, but by no means are memorable pieces.

Trew’s repetitive subject matter could be part of reason the record does not succeed in establishing really powerful tracks. Each number is definitely different in its own right, yet I felt like each song made mention of women or an alcoholic drink. There is absolutely nothing wrong with keeping to a central theme or subject, but Trew could have done so much more. And, unfortunately, his album felt as if it were running in place without a chance of really taking off. “My T-Shirt” is the record’s closest attempt at carrying the torch of the entire mixtape for strong synths—especially the solo—and the artist/producer relationship is undoubtedly effective.

The overall album is a platform where Trew puts his musical prowess on display. Where Trew lacks in his choice of subject matter, he more than makes up for it with his solid delivery and his chameleon-like ability to run with whatever beat is thrown his way. Even Ski Beatz, the super producer behind some of Jay-Z’s and Fat Joe’s music, put his magic touch on “Let You Go,” which calls upon the smooth bring sexy back of early 90’s R&B sounds (Props for the Kelis “In the Morning” reference by the way). Don’t expect to be enlightened by The James Crockett Experience, but do expect to enjoy the journey…And take in some good alcoholic drink suggestions along the way. You can check out his mixtape here.

Hip-hop is changing. No longer is it solely about who’s the nicest behind the mic, but who has the most versatility. We’ve seen it with Snoop Dogg…ahem…excuse me, I mean Snoop Lion go from “Ganster rap” to Reggae…I guess, and Kid Cudi transition from rhyming to singing in almost the same breath. Fast-forward to, well, now and you get Bedford-Stuyvesant, New York, native Brasco Bklyn.

At the young age of thirteen, Brasco took it upon himself to create his own music by writing, studying performance, and eventually getting into production. I recently had the opportunity to review a handful of his songs. Though one out of four songs is from this year, they each radiate a different vibe. So I took the time to analyze and rate each piece based on his lyrics, delivery, and production.

Heartbeat:

Heartbeat is a ticking bomb. The record begins with lonesome piano keys and Brasco Bklyn speaking to the audience as he says, “You know, it’s like you got emotions bottled up and shit, and you need to vent a little bit, you know.” Shortly after, the solemn piano notes transition to heavy drums and distorted synths, creating an entirely different vibe.

The song is a well-made take on Childish Gambino’s track that bears the same name “Heartbeat.”Heartbeat breathes life and speaks directly to anyone that has been through a rocky relationship (Oh, I’ve been through one too many of those *tear drop*). Sure the story has been told time and time again, but Brasco’s overall product is undeniably effective.

The drum pattern and synth lines in Heartbeat are remarkably similar to the European-based electronic duo Justice’s song Genesis, but it doesn’t take anything away from the track. Brasco skillfully opens his verse calmly, and, as the song builds, his vocals reach a crescendo, creating an exciting, yet, uneasiness about the words said.

Everything in Heartbeat works from the production to Brasco’s lyrics. And, in less than three minutes, he manages to exert potent emotions, which is a skill that cannot be taught. If anything, the only real disappointment is that Heartbeat wasn’t a few minutes longer.

Rating: 5

I Got it Made:

The first thing that comes to mind when I listen to I Got it Made is old school hip-hop—fat gold chains, Adidas jumpsuits, graffiti writers, b-boys, and boom boxes—in other words, hip-hop in its glory days.

Brasco’s easy to follow rhymes go hand-in-hand with the slim-layered, yet head-rocking beat, which consists of basic drum lines and guitar licks. And it is apparent that Brasco chose to have fun with I Got it Made once he reaches the hook and chants “Old school, new school needs to know though/ I burn, baby burn, like disco inferno.”

Brasco’s old-school flow further emphasizes his hook. “Check the price tag,/Charge it to the black card/ I got bitches screaming ‘whoa’ like Black Rob,” spits Brasco, “This life got me living in the fast lane/Before the music, dawg, it’s the dope game,” he continues.

The lyrics in I Got it Made aren’t dense so don’t expect to be blown away. I do, however, think heavy lyricism was not what Brasco intended. The song is, in a sense, a homage to hip-hop music in the decade in which Brasco was born–The eighties.

Rating: 3.5

So Fresh:

Part of the hip-hop culture is about celebrating your uniqueness or ranting why you’re better than other emcees in the game. It could be the way you rhyme, where you’re from, the lyrics you use, how many things you own; the list goes on. With that said, it’s fitting that Brasco created So Fresh, a song about being, well, fresh.

Heavy drum lines and horns open So Fresh, which features the vocals by Jay Mor. The record is near perfect, however, Braso’s lyrics seem watered down. “I flow like a hundred grand/ Look like a hundred grand/ I guess you can say I’m the man with a hundred grand,” recites Brasco in the first verse.

Lyrics aside, So Fresh has a commercial appeal—the hook is catchy, the delivery is immaculate, and the production is addicting. It is one of those songs that will have you humming the chorus after a couple of listens.

Rating: 4

No Hook:

There’s no doubt that Brasco’s strong vocals carry him throughout the properly titled No Hook (produced by Jay Money) as he glides through the two-minute track without a break. The subject matter is focused on getting paid by any means necessary and the piano keys in the instrumental help paint a dark, gritty vibe to the overall tone.

Brasco spits his best lines when he rhymes, “My little homies, shit, they be dying to bust off/Premature, so they real quick to bust off.” But as No Hook carries on it feels like it is running in place with no real substance other than his desire for riches.

Regardless, No Hook is a track that displays Brasco’s versatility behind a mic. The song may not have mainstream appeal, but Brasco still demands attention with his natural delivery.

There’s something about Autumn Electric’s Album, Make Me a Tree, that is organic, authentic, and graceful–maybe it’s the potent songwriting and harmony between lead singer, Michael Trew, and back-up singer, Naomi Smith; or the overall mellow, sometimes lively, tone of the record; or maybe it’s the band’s adroit use of the harmonica, accordion, flute, piano, and saw, yes, the same tool used to cut wood—whatever it is, though, it feels right.

The music in the Seattle-based indie-rock band is far from simplistic. Layers of serene vocals, poetic lyrics, and skillfully utilized instruments blanket the ten-song album, creating a product that never appears tiresome. Even when the album feels like it is ready to sedate the listener into a melodic, musical coma, it casually injects just enough adrenaline to keep its audience alive and off balance.

Slick guitar lines and pleasant vocals open the album with the catchy, likeable, and upbeat “Astoria.” Early on, it is recognizable that Trew and Smith have an undeniable chemistry when it comes to feeding off their vocal talents as they follow up with “Raccoons.” This is one of the strongest songs on the album as it masterfully paints a scenic view of a world outside of busy city living.

Three songs in, “Black Shrouds,” probably their most radio-friendly song, follows as another pleaser. Don’t be fooled by the infectious up-tempo of the song though; the lyrics are just as contagious: “You woke up, climbed into your painting van, 6 or 7 days a week,” sings Trew, “You call it a living, but no one saw you dying.”

It is only when Make Me a Tree is near the mid point where the album takes an interesting turn. On “Harold,” the band promotes Smith as the lead and Trew as the back up. The absence of Trew as the frontman makes the song feel out of place, but it is easily forgiven, as the following songs, “Indian Princess” and “Icicle Valley,” are both equally enjoyable.

Make Me a Tree is, according to Autumn Electric’s press kit, a story about working through the death of a loved one. “It wasn’t right for you to go and leave me in this world alone,” croons Trew in “Spaghetti Western, “You know how much I love you, brother.” If the story of overcoming a loss isn’t apparent through Trew’s lyrics, then the musical vibe of the album speaks volumes for it is a roller coaster, moving from one mood to the next.

Make Me a Tree sets the precedent of the sound Autumn Electric should continue to personify—it’s rich, full of life, and real—everything a band can ask for. What Autumn Electric may lack in commercial appeal, they more than make up for in musical composition, strong lyrics, and a one-of-a-kind sound. Even their longer songs, “Icicle Valley” and “Spaghetti Western,” which both stretch over seven minutes, never induce the feeling of pressing the fast forward button as effective transitions, instrument solos, and soothing vocals keep them alive. Make me a Tree is an album that comes from a group of artists that respect the art of music, and I tip my hat to them. Kudos.

You can stream and purchase Make Me a Tree for free here. Half of the proceeds go to The Healing Center and Grief Place in Wenatchee, Washington.

Well, well, well…Time flies, don’t it? Please, save your jeers. And, please save your tears. Us folks have been busier than hookers on the first day of the month in the red light district. But finally, we put our first short film to rest! *Pats back.* Artists, don’t worry, we still love you and still plan to work with you. In the meantime, enjoy our first film, “Ben.

There often comes a point in every musician’s career where they must ask themselves whether they want to continue creating solely for their own personal pleasure or share their talent with the world. After jamming for two years in their garage, two young musicians; Roberto Perada, the lead singer and guitarist; and Matthew Humphrey, the back-up singer and guitarist, decided that playing music in their practice space wasn’t enough. Soon enough, the duo became a quartet with the addition of Raul Magana (back-up singer and bassist) and Mark Simpson (drummer), whom were both musicians that Roberto and Matthew have been jamming with. Fast-forward eight months into the future and you get “The Lillies,” a band two months shy of releasing their first official album. Take a little time to get to know The Lillies and listen to the music that they were so kind to share…or officially be an ass-face (I’m only kidding…kind of).

What inspired your band name?

Raul Magana: We got the name “The Lillies” when our Singer Roberto Pereda took interest in a girl nicknamed “With Lillies and Remains” and after a few beers and messing around, Matthew and Roberto decided to call the band “The Lillies.”

I know you guys have only been around for 8 months now, but do you feel like you’ve come into your own yet?

Matthew Humphrey: We feel that our sound has definitely come into its own because our music is always progressing and changing. This allows us to create music that is original and not restrict ourselves to being in one genre or style.

I’m your opinions what are a few key components that make up for a great band?

Roberto Pereda: I think what makes a great band is everyone’s ability to understand each other musically and being there for the right reasons. Being in a band is like being in a family; you get to see the subtle things that make each member unique musically, and the interesting part is mixing your intangibles with theirs and seeing what comes out.

Roberto, you said one of the few components that make up a great band is being in the band for the right reasons…why are you currently in a band?

Roberto Pereda: I am currently in a band because I love music and it keeps me sane–for the most part. When I play my guitar and sing, I feel like this is what I should be doing with my life and it makes me happy.

What has been most rewarding about being in a band so far?

Mark Simpson: The most rewarding part about being in the band is seeing the effect that your music can have on other people’s lives. It’s also really rewarding to be able to express your emotion with a band that feels your ideas and emotion and adds their own ideas to the music.

So Satan himself captures you dudes, along with several other bands, to have a play off to the death; the winners leave with their lives. As a band, what will be your secret weapon(s) that will ensure your victory?

Raul Magana: We are Satan!

You guys are Satan!? That’s crazy! What three bands, local or commercial, would you have in the battle to the death and why would you choose them?

Matthew Humphrey: Mozart, Led Zeppelin, and Miles Davis, We would do this because all three musicians are pinnacle to music and each revolutionized music forever.

What inspires you guys as musicians?

Roberto Pereda: Anything that can provoke an emotion inspires me as a musician. As a singer I like to sing about an emotional struggle, the need for love, the need for understanding, and the anxiety that comes with being imperfect.

Do you guys have any crazy performance stories or stories on the road? If so, please explain…

Raul Magana: We did a small tour to Las Vegas, NV and played The Fuse Exposed Music Festival and had no clue the festival was a metal festival. We ended up playing our music and found out that people loved our music, and ended up partying with everyone after a show. I wish I could say I remember what happened after that, but I can’t.

What was going on through your minds the second you realized that you were just about to perform in front of a crowd of metalheads?

Mark Simpson: Although our sound is not as heavy as most Metal bands, we knew that we had a high energy set and could appeal to any music lover. We also have been known to get pretty heavy sometimes and that doesn’t hurt to do every once in a while.

So far, what is your favorite song to perform and why?

Raul Magana: As a group, we can’t agree on a favorite song for we all have different answers, but we can agree that we like the music that we perform and create everyday.

Do you guys have any plans for the future?

Mark Simpson: We are glad to announce that we will be having our CD released in May this year as well as take part in a small tour to Northern California in July. We are also currently looking to get on a few Festivals for the summer, and we’re hoping to get some more articles about what we are trying to accomplish with our music.

Any last words to your fans or anyone that may stumble across this interview?

Roberto Pereda: “A Blind man once told me that we’re good, so you know we have to be good”

Like this:

“’Gone’ is a melancholy record. Many think it’s sad, I’d like to refer to it as melancholy. It’s about a love lost and a man’s way of sorting his thoughts. It’s kind of somber, but it’s also liberating. It’s not a record like Drake’s “Marvin’s Room,” in which a drunken former lover calls up his ex to tell her why he should still be with him–not a slight. I’m merely a guy humble enough to tell how he messed up and wishes things could’ve gone better. Even if she never comes back, I’d rather think of the good things than drown myself in sorrow about the bad ones. It’s a very visual record. It takes you places. I love that about it.” –Jered Sanders.

Update (3/8/12): Well…As you can already see, Jered Sander’s newest release “Gone” is…uh..gone. Don’t blame the artist though; it was not his decision to pull it. But in the meantime you can still read my lovely description of the now vanished single, Gone. *tear.*

It’s the simplicity of the instrumental, along with the delicate care and consideration for each word written, that immediately drew me into Jered Sanders’ newest release, “Gone.”

“Gone” eloquently guides you on a relaxing saunter on the beach. The track paints a picture of the sun embracing the horizon for the last time just before it welcomes the evening while unconsciously inducing the images of carnival rides, cotton candy, and the sincerity of new love. At times, you almost forget “Gone” is a melancholic voyage of love lost–Until the chorus comes around at least.

The instrumental is simple: soft guitar strings, maracas, drums, and Sanders faintly repeating “Yo” in the background. The bridge beautifully transitions as an almost nostalgic whistle chimes in. And, when the chorus arrives, the piece welcomes the sounds of trumpets, which warmly compliment the piece.

The beat slightly shifts to heavier drums and piano keys towards the tail-end of the track as it opens Sanders to sparingly insert a few bars of rhymes—just enough to keep the pace of the record constant. A mini piano scale follows his verse and Sanders almost immediately steps back into the original pace of the song.

As the last seconds tick away, everything slowly fades out with the soft crashes of the ocean hitting the seashore—a perfect conclusion to a smooth ride of melodic chords and beautiful words written. Do yourself a favor and listen to “Gone” for yourself. Enjoy.

And, if you haven’t already, check out the interview we had a year ago right here.